Perfect summer dress that can be worn to weddings or on holiday at Marks and Spencer
Perfect summer dress that can be worn to weddings or on holiday at Marks and Spencer
Marks and Spencer has just dropped the second half of its spring collection and there's so many pieces to choose from.
It's crafted in a regular fit, with a flattering dropped waist and a comfortable lining.
(Image: Marks and Spencer )
With spring upon us, many of us will have a host of special events marked in our calendars. Whether you're off to a wedding or jetting away on holiday, you'll likely need a new dress or two - and Marks and Spencer has just the thing.
The high street giant has recently revealed the second half of its spring collection, offering a plethora of options. One dress that has might pique your interest, however, is this £79 Lyocell Rich Polka Dot Sweetheart Neckline Maxi Waisted Dress.
Ideal for warm weather, the polka dot maxi dress is a fashionable choice for virtually any event. For the latest TV and showbiz gossip sign up to our newsletter .
READ MORE: Cynthia Erivo's go-to beauty item for 'natural, fresh look' drops by 20%
READ MORE: Roman's 'elegant' floaty summer top 'covers tummy' and is 'crease-free'
It's crafted in a regular fit, with a flattering dropped waist and a comfortable lining.
Polka dots have been seen all over the spring and summer runways
(Image: Marks and Spencer )
The Bardot neckline and ruching on the bodice create an elegant silhouette without being overly stiff.
Shoppers can snag the dress in petite, regular and tall lengths in sizes six to 24, reports the Manchester Evening News.
The dress cascades to a flattering and versatile midi length.
These types of dresses are often deemed more comfortable than maxi lengths, allowing for easier movement, and they can be styled for both casual and more formal occasions.
While the Lyocell Rich Polka Dot Sweetheart Neckline Maxi Waisted Dress doesn't have any reviews on M&S yet, it's bound to be a huge hit.
However, one thing to bear in mind is that Marks and Spencer notes that it's a dry clean only item.
If you're searching for a polka dot dress with more coverage on the arms and décolletage, why not consider Nobody's Child's Black Polka Dot Anya Midi Dress?
It's priced at £150 but new customers can enjoy a 15% discount with the code HELLO15 applied at checkout, reducing the price to £132.50.
River Island's Cream Asymmetric Polka Dot Wrap Midi Dress is another affordable option.
Article continues below
Priced at £46, it's available in sizes XS to XL although it's selling out quite fast.
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Time Out
an hour ago
- Time Out
Complete 2025 Tony Award Predictions
The unusually bountiful 2024–25 Broadway season has spoiled us for choice. Deciding how to vote for the Tony Awards will be harder than it has been in a long time: Even more than usual, this year's ballot requires Tony voters to make wrenching decisions among candidates who are manifestly deserving. That, in turn, makes it hard for Tony pundits to predict all the winners with confidence. Still, even so, nonetheless: We have studied the 2025 Tony nominations, kept an ear cocked for buzz and talked to a multitude of voters, and now we are ready to make our final calls. Remember: These are our predictions, not our choices, and we are fully prepared—in some cases, even hopeful!—for the possibility that we may be guessing wrong. Here's who we think will win when Cynthia Erivo host Broadway's biggest night on June 8, 2025. BEST MUSICAL Buena Vista Social Club Dead Outlaw Death Becomes Her Maybe Happy Ending Operation Mincemeat The race: The field of contenders for the Tony Awards' marquee prize was notably deep this year: 14 new musicals, most of them good. Several shows that might have been shoo-ins for nominations in other years, such as Real Women Have Curves, didn't end up making the cut. Of the five that did, three are intimately scaled—which is not necessarily a handicap in this category, which has trended in recent years toward smaller, artier musicals. Support this season appears to have consolidated behind the lovely and original android romance Maybe Happy Ending; while a happy ending for the production is not guaranteed, its odds put it closer to will be than maybe. BEST PLAY The race: Another embarassment of riches: Two of the nominees, Purpose and English, have won the Pulitzer Prize for Drama. Of those two, the still-running Purpose has an edge. But the suprise hit of the year is Cole Escola's riotously funny Oh, Mary!, which has fancy credentials of its own—it was a runner-up to Purpose for the Pulitzer—and has generated huge buzz beyond the usual theater circles. Nothing like it has ever won Best Play, which tends to reward more serious fare; but on the other hand, the Best Play winner is strongly correlated to the winner of Best Director of a Play—they've gone together 17 out of 24 times in this century—and Purpose isn't nominated for the latter. (Only once in the 21st century has a new play whose director wasn't nominated beaten one whose director was; the winning play was 2002's The Goat, or Who Is Sylvia?, Edward Albee's first new Broadway work since 1975 to run for more than two weeks.) We predict that the sheer joy of Escola's show will carry the day. BEST REVIVAL OF A MUSICAL The race: Recent momentum for Audra McDonald (see below) has helped Gypsy 's chances, but this parade is still scheduled for Sunset Blvd. Gypsy is the better musical, but Jamie Lloyd's production of Sunset is the bolder reinvention. And the absence of Gypsy director George C. Wolfe from this category is a powerful indicator, too, albeit with an asterisk: In the years since awards for revivals were introduced in 1977, only one musical revival whose eligible director wasn't nominated has ever beaten one whose director was—but that one winning revival was Gypsy! Then again, that was in 1990, and neither of the show's two revivals since then wound up taking the prize. Sunset has the upper hand. BEST REVIVAL OF A PLAY The race: The neck-and-neck race between David Henry Hwang's Yellow Face and Jonathan Spector's Eureka Day makes this one nearly impossible to call. Eureka Day has the advantages of being both newer (it premiered in 2018, so it feels more like an original play than a revival) and more recent, having closed in February versus Yellow Face 's November. But Yellow Face was recorded for PBS and broadcast in May, which evens that field somewhat. It's a true coin toss of a category, but we predict that Yellow Face will win the day—or even that the race will yield a rare Tony tie. BEST BOOK OF A MUSICAL Buena Vista Social Club by Marco Ramirez Dead Outlaw by Itamar Moses Death Becomes He r by Marco Pennette Maybe Happy Ending by Will Aronson and Hue Park Operation Mincemeat by David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts The race: For musicals, though not for plays, the Tonys draw a distinction between the sum of a production's parts (Best Musical) and its writing, both nonmusical (Best Book) and musical (Best Score). Not infrequently, especially when the big winner is large production, one or both writing awards will go elsewhere, as they did last year to Shaina Taub's Suffs. This year, though, we suspect that voters won't see as much need for distinction. Will Aronson and Hue Park's storytelling in Maybe Happy Ending is the most charming and emotionally resonant of the nominees; and while Dead Outlaw and Operation Mincemeat adopt less conventional narrative strategies, they are both inspired by historical events, which helps the entirely original Maybe Happy Ending stand out. BEST SCORE Dead Outlaw by David Yazbek and Erik Della Penna Death Becomes Her by Julia Mattison and Noel Carey Maybe Happy Ending by Will Aronson and Hue Park Operation Mincemeat by David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts Real Women Have Curves by Joy Huerta and Benjamin Velez The race: If Dead Outlaw picks up an award, it is most likely to be for David Yazbek and Erik Della Penna's smart and eclectic score, which not only suits the show perfectly but is also highly enjoyable as a cast recording. But the show—which tracks a corpse through decades of American history—is probably a skosh too weird for Tony voters. We think Maybe Happy Ending will add this award to its haul. BEST ACTRESS IN A MUSICAL Megan Hilty, Death Becomes Her Audra McDonald, Gypsy Jasmine Amy Rogers, Boop! The Musical Nicole Scherzinger, Sunset Blvd. Jennifer Simard, Death Becomes Her The race: This has been the race to watch all year: a gladiator match of champions. This season was so flush with Best Actress contenders that Sutton Foster and Idina Menzel didn't even get nominated; neither did Maybe Happy Ending 's adorable Helen J Shen. Since the fall, the assumption has been that the race would come down to a diva showdown between Audra's Mama Rose and Scherzinger's Norma Desmond, with the latter at a slight advantage because a) everyone agrees that Audra is acting the hell out of her part but not everyone thinks her voice always works for the part, and b) she has six Tonys already. But then came Jasmine Amy Rogers in Boop!, delivering the kind of starmaking performance that voters love to reward. (That doesn't leave much room for the wonderful co-stars of Death Becomes Her, who in a different year would be leading the pack.) As recently as two weeks ago, we would have predicted a Scherzinger win, with Rogers as a dark horse. But the fallout from LuPonedemonium, which reminded people not to take Audra for granted, has shifted the balance; to a lesser extent, so has sympathy over Boop! 's exclusion from the Tonys. What that means is that the night's most exciting race is back to being anyone's guess—and our guess, since we have to make one, is that Audra will need to find a bit more room on her mantel. BEST ACTOR IN A MUSICAL Darren Criss, Maybe Happy Ending Andrew Durand, Dead Outlaw Tom Francis, Sunset Blvd. Jonathan Groff, Just in Time James Monroe Iglehart, A Wonderful World Jeremy Jordan, Floyd Collins The race: There are six very worthy nominees here instead of five—the result of a tie in the nominating process—but the general feeling is that it will come down to Darren Criss and Jonathan Groff. Both are very well-liked, and both are giving first-rate performances. If Groff hadn't won last year for Merrily We Roll Along, he would probably be the favorite for his splashier turn as Bobby Darin in Just in Time. But he did win last year, and back-to-back acting victories in the same category are extremely rare: Only Gwen Verdon (1958 and 1959) and Judith Light (2012 and 2013) have pulled it off. We think that tips the odds slightly toward Criss. BEST ACTRESS IN A PLAY Laura Donnelly, The Hills of California Mia Farrow, The Roommate LaTanya Richardson Jackson, Purpose Sadie Sink, John Proctor Is the Villain Sarah Snook, The Picture of Dorian Gray The race: Finally, an easy call! Snook's one-woman, two-dozen-character walk on the Wilde side is the kind of athletic and chameleonic tour de force that voters have a hard time resisting. And they won't. Trust her with your valuables, 'cause Snook is a lock. BEST ACTOR IN A PLAY George Clooney, Good Night, and Good Luck Cole Escola, Oh, Mary! Jon Michael Hill, Purpose Daniel Dae Kim, Yellow Face Henry Lennix, Purpose Louis McCartney, Stranger Things: The First Shadow The race: Escola is nonbinary, and had they chosen to compete in the Best Actress category then Snook might have gotten a run for her money. Competing instead for Best Actor, Escola is likely to win with ease for their dazzling and hilarious turn as the quite contrary Mary Todd Lincoln. BEST FEATURED ACTRESS IN A MUSICAL Natalie Venetia Belcon, Buena Vista Social Club Julia Knitel, Dead Outlaw Gracie Lawrence, Just in Time Justina Machado, Real Women Have Curves Joy Woods, Gypsy The race: The consensus for some time has been that Belcon will win this award for her very fine work as an imperious singer in Buena Vista Social Club. That may well be exactly what happens. But there are usually a few upsets up the Tonys' sleeve, and they're often in the featured categories. Many people feel that Real Women Have Curves got a raw deal from the nominators, and this category is where voters have a chance to show it a little love by voting for Justina Machado, the comic dynamo who is the show's big, beating heart. Brooks Ashmanskas, Smash Jeb Brown, Dead Outlaw Danny Burstein, Gypsy Jak Malone, Operation Mincemeat Taylor Trensch, Floyd Collins The race: Jak Malone has the takeaway number in Operation Mincemeat —an oasis of sincerity in that show's hectic whirlwind—so he remains the odds-on favorite. But his support is a little soft; some voters admire the performance but think the song itself does a lot of the work. That opens up a possible window for the hilarious Brooks Ashmanskas, who brings gale force to a role that plays like a culmination of his decades of character comedy, or the widely adored Danny Burstein, who everyone agrees is perfect as Gypsy 's long-suffering Herbie. BEST FEATURED ACTRESS IN A PLAY Tala Ashe, English Jessica Hecht, Eureka Day Marjan Neshat, English Fina Strazza, John Proctor Is the Villain Kara Young, Purpose The race: This is another of the night's closest races, and it's Hecht and Young at the finish line. Young is spectacularly gifted; she's been nominated in this category for four straight seasons, and won it just last year. If any actor can pull off back-to-back wins, she's a good candidate, and it doesn't hurt that a win for Young would also be a win for Purpose, which might come up empty in other races. But Hecht is a pillar of New York theater whose big scene at the end of Eureka Day was unforgettable, and who has somehow never won a Tony. We suspect that admiration for Hecht's hitherto-underrewarded career will tip the scale slightly in her favor. BEST FEATURED ACTOR IN A PLAY Glenn Davis, Purpose Gabriel Ebert, John Proctor Is the Villain Francis Jue, Yellow Face Bob Odenkirk, Glengarry Glen Ross Conrad Ricamora, Oh, Mary! The race: Like Hecht, Frances Jue is a beloved industry veteran whose work in Yellow Face was among the best in his long career. But this category has a complicating factor that hers doesn't: Voters tend to pad Best Play victories with other awards, and there aren't many ways to do that for Oh, Mary! We think Ricamora will ride that wave to glory. BEST DIRECTION OF A MUSICAL Saheem Ali, Buena Vista Social Club Michael Arden, Maybe Happy Ending David Cromer, Dead Outlaw Christopher Gattelli, Death Becomes Her Jamie Lloyd, Sunset Blvd. The race: The likely winners of Best Musical and Best Musical Revival will probably face off in this category, as they often do; Best Musical directors are unlikely to lose to directors of other new musicals. (In the past 30 years, that's only happened to the serially underappreciated Michael Greif. Twice.) Between Arden and Lloyd, Arden has the advantage; not everyone likes the kind of metatheatrical multimedia staging that Lloyd's Sunset Blvd. represents. BEST DIRECTION OF A PLAY Knud Adams, English Sam Mendes, The Hills of California Sam Pinkleton, Oh, Mary! Danya Taymor, John Proctor Is the Villain Kip Williams, The Picture of Dorian Gray The race: As noted above, a Best Play victory usually also entails one for Best Director. That points to a win for Sam Pinkleton's expert navigation of Oh, Mary! 's pace and tone. Kip Williams's complicated vision of Dorian Gray also has admirers, but Pinkleton's closest competition is Taymor, whose win would honor the popular but probably otherwise overlooked John Proctor Is the Villain. BEST CHOREOGRAPHY The race: Justin Peck won last year for Illinoise, and he's likely to repeat the feat for the beautiful and dynamic dances he created with his wife, Patricia Delgado, for Buena Vista Social Club. But there's considerable support out there for Jerry Mitchell's exuberant work in Boop!, and while Christopher Gattelli is unlikely to win for directing Death Becomes Her, his choreo may earn him a consolation prize. BEST ORCHESTRATIONS Will Aronson, Maybe Happy Ending Bruce Coughlin, Floyd Collins David Cullen and Andrew Lloyd Webber, Sunset Blvd. Marco Paguia, Buena Vista Social Club Andrew Resnick and Michael Thurber, Just in Time The race: Buena Vista Social Club is literally about the band, and although the show's superb onstage musicians are already receiving a Special Tony Award for their contributions, the voters' goodwill seems likely to overflow into this category as well. (Just in Time also has an onstage orchestra, though, so it has an outside chance.) BEST SCENIC DESIGN OF A MUSICAL Rachel Hauck, Swept Away Dane Laffrey and George Reeve, Maybe Happy Ending Arnulfo Maldonado, Buena Vista Social Club Derek McLane, Death Becomes Her Derek McLane, Just in Time The race: Laffrey's longtime creative partnership with director Michael Arden has been a major factor in Arden's success, and nowhere more clearly than in Maybe Happy Ending, in which the set design is almost a fifth character. McLane's double nomination might be a Pyrrhic victory: Those who favor his big, gleaming designs might divide their vote, further facilitating Laffrey's win. BEST SCENIC DESIGN OF A PLAY Miriam Buether and 59 (Benjamin Pearcy and Leo Warner), Stranger Things: The First Shadow Marsha Ginsberg, English Marg Horwell and David Bergman, The Picture of Dorian Gray Rob Howell, The Hills of California Scott Pask, Good Night, and Good Luck The race: Stranger Things may not impress everyone as a drama, but there's no denying it's a majestic spectacle. The set is a huge—and we mean huge—part of that. There's a shipwreck onstage! It's going to win. BEST COSTUME DESIGN OF A MUSICAL Dede Ayite, Buena Vista Social Club Gregg Barnes, Boop! The Musical Clint Ramos, Maybe Happy Ending Paul Tazewell, Death Becomes Her Catherine Zuber, Just in Time The race: It's been a triumphant year for Paul Tazewell, who won an Oscar in March for Wicked and whose wild ensembles are among Death Becomes Her 's most memorable elements. His main competition in this category is fellow ten-time Tony nominee Gregg Barnes, whose costumes for Boop! are equally spectacular in eye-popping color and in shades of black and white. Barnes has won more often and more recently, though, and this category is the most obvious place to reward Death Becomes Her 's over-the-top style. BEST COSTUME DESIGN OF A PLAY Brenda Abbandandolo, Good Night, and Good Luck Marg Horwell, The Picture of Dorian Gray Rob Howell, The Hills of California Holly Pierson, Oh, Mary! Brigitte Reiffenstuel, Stranger Things: The First Shadow The race: The Stranger Things design juggernaut probably won't extend to this race, where voters are more likely to be torn between Pierson's deliberately simplistic, paper-doll designs for Oh, Mary! and Horwell's equally deliberately ornate ones for The Picture of Dorian Gray. If Oh, Mary! wins in this early category, it will be a good sign that it's headed for a sweep. But we think this one lands in the Gray zone. BEST LIGHTING DESIGN OF A MUSICAL Jack Knowles, Sunset Blvd. Tyler Micoleau, Buena Vista Social Club Ben Stanton, Maybe Happy Ending Justin Townsend, Death Becomes Her Scott Zielinski and Ruey Horng Sun, Floyd Collins The race: Best Lighting is often Most Lighting, where voters are concerned, and Sunset Blvd. undeniably has the most lighting of these five. It's also highly accomplished on a technical level, and central to the production's aesthetic. BEST LIGHTING DESIGN OF A PLAY Natasha Chivers, The Hills of California Jon Clark, Stranger Things: The First Shadow Heather Gilbert and David Bengali, Good Night, and Good Luck Natasha Katz and Hannah Wasileski, John Proctor Is the Villain Nick Schlieper, The Picture of Dorian Gray The race: Again: Most Lighting. Stranger Things has more lighting than the other four combined. If the voters are feeling rebellious, however, this could be where John Proctor sneaks in. BEST SOUND DESIGN OF A MUSICAL Jonathan Deans, Buena Vista Social Club Adam Fisher, Sunset Blvd. Peter Hylenski, Death Becomes Her Peter Hylenski, Just in Time Dan Moses Schreier, Floyd Collins The race: We think this is ultimately a race between Sunset Blvd.'s well-executed blare and Buena Vista Social Club 's more organic approach, which renders the music with exceptional clarity. We give Sunset a slight edge. Paul Arditti, Stranger Things: The First Shadow Palmer Hefferan, John Proctor Is the Villain Daniel Kluger, Good Night and Good Luck Nick Powell, The Hills of California Clemence Williams, The Picture of Dorian Gray The race: This is another race where Stranger Things will probably happen. But sound arguments do exist for an upset by, say, John Proctor Is the Villain or The Picture of Dorian Gray. Special Tony Awards for Lifetime Achievement (noncompetitive) Harvey Fierstein Isabella Stevenson Award (noncompetitive) Celia Keenan-Bolger Special Tony Awards (noncompetitive) The band of Buena Vista Social Club The illusions and technical effects of Stranger Things: The First Shadow Regional Theatre Tony Award (noncompetitive) The Muny (Municipal Theatre Association of St. Louis) Honors for Excellence in the Theatre (noncompetitive) Robert Fried Great Performances New 42
Daily Mail
2 hours ago
- Daily Mail
Jonathan Bailey reveals he headbutted co-star Ariana Grande and details the 'darker side' of Wicked as he covers British GQ
Jonathan Bailey revealed how he accidentally headbutted his Wicked co-star Ariana Grande and detailed the darker side of the film in a new interview on Thursday. The actor, 37, who stars as Elphaba's (Cynthia Erivo) love interest Fiyero Tigelaar in the upcoming conclusion of the Broadway hit. Speaking in his cover story for British GQ's Heroes Issue, Jonathan gave an insight into an early rehearsal for Wicked and revealed what fans can expect for the film. He recalled: 'I remember having four hours to learn how to do a dance move. I did it with Ari, headbutted her, and was like, gotta go! 'I think she might have even headbutted me, but it was a meeting of minds, literally.' From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new Showbiz newsletter to stay in the loop. Wicked: For Good is set to hit cinemas on November 21, sees the return of Cynthia Erivo as Elphaba, the Wicked Witch of the West, and Ariana as Glinda, the Good Witch of the North - with part two of the musical movie following their friendship after Elphaba was banished from Oz. Jonathan detailed how the story has evolved, will be 'darker' and 'go there politically' as his character also 'transforms.' He continued: 'It's darker, and I've got a sense it's going to go there politically as well. Fiyero's arc really kicks off and he literally is transformed by the end.' 'There really is lots of new stuff. When [Fiyero] leaves with Elphaba and they go to her lair where she's staying – on stage you just accept that she's living in a pit of dry ice, but in the film it's really beautifully realised and thought out by the departments and Cynthia and me.' The first trailer for Wicked's hotly-anticipated sequel was released this week and has sent fans into a frenzy. The clip provides a first look at the movie conclusion of the Broadway hit teasing the fate of the protagonists and a first look at new characters. Elphaba is living in exile, hidden within the Ozian forest while continuing her fight for the freedom of Oz's silenced Animals and desperately trying to expose the truth about The Wizard (Jeff Goldblum). Glinda, meanwhile, has become the symbol of Goodness for all of Oz, living at the palace in Emerald City and reveling in the perks of fame and popularity as she prepares to tie the knot with Prince Fiyero (Jonathan). He also detailed how the story has evolved, will be 'darker' and 'go there politically' as his character also 'transforms' She is also working under the instruction of Madame Morrible (Michelle Yeoh) to convince the citizens of Oz that they have nothing to fear when it comes to The Wizard. Yet behind the scenes, Glinda is attempting to reconcile Elphaba and The Wizard, which only results in her being drawn further apart from her friend. As a result Boq (Ethan Slater) and Fiyero are set to be changed forever, while the safety of Elphaba's sister, Nessarose (Marissa Bode) comes into question. Just as tensions in Oz reach an all time high, a girl from Kansas comes crashing into all their lives. The Heroes Issue of British GQ is available via digital download and on newsstands on 10th June.
BBC News
3 hours ago
- BBC News
H&M opens in Northampton shopping centre after £2m loan
A clothing shop has opened in a new location after a council approved a £2m loan for the move. H&M reopened at its new location in Grosvenor Centre, in Northampton, on loan was one of two from West Northamptonshire Council to the shopping Gregg, director of the Grosvenor Centre, said: "Their exciting new store will further broaden the centre's offer and give shoppers in Northampton even more access to fantastic fashion and great value clothing." The new store, which was originally open on Abington Street, is part of the council's efforts to enhance Northampton town centre. The authority is also expected to lend the centre's owners, Evolve, £1m to create flexible workspaces to support remote working. The new store is said to offer a "fresh and elevated shopping" experience. "We are delighted to be opening our new store in Northampton, a key location that reflects our ongoing investment in the UK market," said Klas Degeryd, head of expansion for the clothing brand in UK and Ireland. Follow Northamptonshire news on BBC Sounds, Facebook, Instagram and X.
